[Footnotes]

[Footnotes]
1
Mozart: His Character, His Work, trans. Arthur Mendel and Nathan Broder (New York, 1962), p. 464.
464
Mozart: His Character, His Work
1962
2
"Classes and Strata," Introduction to the Sociology of Music, trans. E. B. Ashton (New York, 1976) pp. 69-70.
Classes and Strata
69
Introduction to the Sociology of Music
1976
3
Letters of 8-9 October 1791 (no. 615) and 14 October 1791 (no. 616), in The Letters of Mozart and His Family, ed. and trans. Emily Anderson (3rd edn. New York, 1985), pp. 969 and 970
Anderson
969
The Letters of Mozart and His Family
1985
Mozart's Entführung aus dem Serail
Mozart
Entführung aus dem Serail
4
H. C. Robbins Landon, Haydn: The Years of "The Cre- ation" 1796-1800, Haydn: Chronicle and Works, vol. IV (Bloomington, Ind., 1977), p. 32.
Landon
32
IV
Haydn: The Years of "The Creation" 1796-1800
1977
5
Peter Branscombe, W. A. Mozart: Die Zauberflöte, Cambridge Opera Handbooks (Cambridge, 1991), esp. chap. 5, "The Li- bretto."
Branscombe
chap. 5
W. A. Mozart: Die Zauberflöte
1991
6
Weber's Freischütz, 1821
Weber
Freischütz
1821
n. 69
"Lortzing and the German Romantics: A Dialectical Reappraisal," Musical Quarterly 62 (1976), 241-6410.2307/741339
241
7
Sören Kierkegaard, "The Immediate Stages of the Erotic or the Musical Erotic," Either/Or, ed. Howard A. Johnson, trans. David F. Swenson and Lillian Marvin Swenson (Prince- ton, 1959), I, 77.
Kierkegaard
77
I
The Immediate Stages of the Erotic or the Musical Erotic
1959
8
Mozart's well-known letter (no. 412) of 20 June 1781
Anderson, p. 747
747
Zaslaw, Mozart's Symphonies: Context, Performance Practice, Reception (Oxford, 1989), pp. 526-31
Zaslaw
526
Mozart's Symphonies: Context, Performance Practice, Reception
1989
9
Kierkegaard, "Stages of the Erotic," p. 80.
80
10
"Pastoral" in the Princeton Encyclopedia of Poetry and Poetics (Princeton, 1974), p. 603
Pastoral
603
Princeton Encyclopedia of Poetry and Poetics
1974
Ellen T. Harris, Handel and the Pastoral Tradition (London, 1980), pp. 1-15
Harris
1
Handel and the Pastoral Tradition
1980
12
Johann Abraham Peter Schulz, preface to Lieder im Volkston, vol. I (2nd edn. Berlin, 1785)
Schulz
2
I
Lieder im Volkston
1785
Max Friedlander, Das deutsche Lied im 18. Jahrhundert (Stuttgart and Berlin, 1902), I, pt.1, 256
Friedlander
256
I
Das deutsche Lied im 18. Jahrhundert
1902
13
Jonathan Culler, On Deconstruc- tion: Theory and Criticism after Structuralism (Ithaca, 1982), pp. 95-97
Culler
95
On Deconstruction: Theory and Criticism after Structuralism
1982
14
Terry Eagleton, Literary Theory: An Introduction (Minneapolis, 1983), pp. 164-70
Eagleton
164
Literary Theory: An Introduction
1983
Kierkegaard, "Stages of the Erotic," p. 79
79
15
Culler, On Deconstruction, p. 97
97
16
Lionel Trilling, Sincerity and Authenticity (Cambridge, Mass., 1972), p. 62.
Trilling
62
Sincerity and Authenticity
1972
17
Ibid., p. 30.
30
18
Im- manuel Kant, Critique of Judgment, trans. J. H. Bernard (New York, 1951), section 42, p. 142
Kant
section 42
142
Critique of Judgment
1951
19
Mozart's well-known letter (no. 426) of 26 September 1781
Osmin of Die Ent- führung aus dem Serail
Osmin
Die Entführung aus dem Serail
Anderson, p. 769
769
24
Kierkegaard, "Stages of the Erotic," p. 82.
82
25
Mikhail M. Bakhtin, "Discourse in the Novel," The Di- alogic Imagination: Four Essays, ed. Michael Holquist, trans. Caryl Emerson and Michael Holquist (Austin, 1981), pp. 259-422.
Bakhtin
Discourse in the Novel
259
The Dialogic Imagination: Four Essays
1981
26
Ibid., p. 421, n. 66.
421
27
Ibid., pp. 262-63
262
Magic Flute
Magic Flute
28
Ibid., e.g., pp. 264, 271, 330-31, and esp. 296-300.
264
29
Carl Dahlhaus, Realism in Nineteenth-Century Music, trans. Mary Whittall (Cambridge, 1985), p. 60.
Dahlhaus
60
Realism in Nineteenth-Century Music
1985
30
Kant, Critique of Judgment, section 45, pp. 149-50.
149
letter [no. 476] of 28 December 1782, Anderson, p. 833
31
volkstümliches Lied as it developed in the nineteenth-century is provided in my ar- ticle "Lortzing and the German Romantics," p. 250
32
Mozart himself makes this clear, in the letter of 8-9 Oc- tober 1791
Anderson, p. 969
969
33
Hector Berlioz, "On Imitation in Music," trans. Jacques Barzun, in the Norton Critical score of Berlioz's Fantastic Symphony, ed. Ed- ward T. Cone (New York, 1971), p. 39
Berlioz
On Imitation in Music
39
Norton Critical score of Berlioz's Fantastic Symphony
1971
34
Eagleton, Literary Theory, p. 136.
136
35
Theodor W. Adorno, In Search of Wagner, trans. Rodney Livingstone (London, 1984), p. 90.
Adorno
90
In Search of Wagner
1984
36
chap. "Avant-Garde" in his Sociology, p. 181
Avant-Garde
181
Sociology
37
"Stages of the Erotic, p. 82
82
40
letter of 8-9 October 1791, Anderson, p. 969
969
41
"Stages of the Erotic," p. 77
77
42
Bakhtin, The Dialogic Imagination, p. 295.
295
43
Ibid., p. 297.
297
44
Ibid., pp. 295-96.
295
45
Trilling, Sincerity and Authenticity, p. 94
94
46
Ibid., pp. 93-94.
93
47
"The Closing of the American Dream? A Musical Perspective on Allan Bloom, Spike Lee, and Doing the Right Thing," in Decon- structive Variations
The Closing of the American Dream? A Musical Perspective on Allan Bloom, Spike Lee, and Doing the Right Thing
Deconstructive Variations
49
Bakhtin, Rabelais and His World, trans. Hélène Is- wolsky (Bloomington, Ind., 1984), pp. 1-58 and 273-77
Bakhtin
1
Rabelais and His World
1984
pp. 244-57
pp. 245-46
50
Einstein, Mozart, pp. 466-67.
466
51
R. Larry Todd, "Orchestral Texture and the Art of Orchestration," in The Orchestra: Origins and Trans- formations, ed. Joan Peyser (New York, 1986), pp. 197-202
Todd
Orchestral Texture and the Art of Orchestration
197
The Orchestra: Origins and Transformations
1986
52
Philosophy of Modern Music, trans. Anne G. Mitchell and Wesley V. Blomster (New York, 1973), pp. 85-86
Mitchell
85
Philosophy of Modern Music
1973
53
Kant's treatment of beauty, in the Critique of Judgment, e.g., sections 13, p. 59, and 17, p. 73
59
Mary Sue Morrow, "Of Unity and Passion: The Aesthetics of Concert Criti- cism in Early Nineteenth-Century Vienna," this journal 13 (1990), 202-0610.2307/746447
202
54
Critique of Judgment, section 13, pp. 58-59
58
"Stages of the Erotic," p. 82
82
55
Dahlhaus, Realism in Nineteenth-Century Music, pp. 29-43.
29
56
m. 97
Adagio, in the overture, and also no. 9a at the beginning of act II, "Der dreimalige Accord" (the thrice- sounded chord)
Adagio
Der dreimalige Accord
57
Developing Varia- tions: Style and Ideology in Western Music (Minneapolis, Minn., 1991)
Developing Variations: Style and Ideology in Western Music
1991
p. 361
n. 52 above, on Adorno
58
Einstein, Mozart, pp. 466-67.
466
59
Ernst Bloch's "Magic Rattle, Human Harp," in Essays on the Philosophy of Music, trans. Peter Palmer (Cambridge, 1985), pp. 140-45
Bloch
Magic Rattle, Human Harp
140
Essays on the Philosophy of Music
1985
p. 143
p. 144
p. 145
Roland Barthes, "The Grain of the Voice," The Responsibility of Forms: Critical Essays on Music, Art and Representation, trans. Richard Howard (New York, 1985), pp. 267-77
Barthes
The Grain of the Voice
267
The Responsibility of Forms: Critical Essays on Music, Art and Representation
1985
60
Arthur Lovejoy, The Great Chain of Being (Cam- bridge, Mass., 1936), p. 288, and chap. 10
Lovejoy
chap. 10
288
The Great Chain of Being
1936
61
French Instrumental Music Between the Revolu- tions (1789-1830) (Ph.D. diss., Columbia University, 1950)
Romy Kozak, of Stanford Univer- sity, at the Conference on Feminist Theory and Music (University of Minnesota, June 1991
Kozak
Conference on Feminist Theory and Music, June 1991
1991
63
Handel's Messiah (1789)
Handel
Messiah
1789
66
Kierkegaard, "Stages of the Erotic," p. 81.
81
67
Ibid.
68
Ibid., p. 82
82
69
Weber's Freischütz
Weber
Freischütz
Dahlhaus, Realism in Nineteenth-Century Music, pp. 34-35
34
70
Kierkegaard, "Stages of the Erotic," p. 80.
80
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